论美国文化中的黑人女饶舌歌手-Black Female Rappers in American Culture [4]
论文作者:www.51lunwen.org论文属性:作业 Assignment登出时间:2014-02-26编辑:cinq点击率:13108
论文字数:5000论文编号:org201402261602271048语种:英语 English地区:美国价格:免费论文
关键词:Black Female RappersAmerican Culture美国文化黑人女饶舌歌手
摘要:American culture, being traditionally perceived as quite liberal and democratic, is in fact paralysed by the overwhelming power of stereotypes which shape the current image of culture at large and its industries
an she continued her career cooperating with Swing Mob, and later Timbaland. Elliot and Timbaland crafted hit singles for a number of artists between 1995-1997.
As a solo rapper, Elliott began her career as a featured vocalist on Gina Thompson’s “The Things You Do” and MC Lyte’s 1996 single “Cold Rock a Party”. Her debut album was released in 1997, was Supa Dupa Fly, a blockbuster hit that established Missy Ellitott as a major force in popular music. It is very important that Supa Dupa Fly was accepted positively by critics though some critics commented that “the album tracks, some of which sampled Missy/Mosley hits such as “Can We” and “One in a Million”, were far inferior to the singles” (Sexton 1995, 257). 1997 was marked by Elliott perform on Lil Kim’s girl-power anthem, a hit remix of her song, “Not Tonight” that obviously underlined her music work as a black female rapper. The next year, she continued her successful music career by writing and producing Total’s single “Trippin”.
Missy Elliott’s second album, Da Real World (1999) was just as successful as the first as well as Miss E… So Addictive in 2001. In fact she is very productive and among the albums which were successful may be also named Under Construction (2002), This Is Not a Test (2003), The Cookbook (2005) and she still remains to be popular so that “Missy Elliott is still as widely recognised and respected by her peers, mainstream, and underground as ever” (Cheney 2005, 410). Moreover, her achievements and success were rewarded and in November 2005, Missy Elliott won Best Female Hip Hop Artist at the 2005 American Music Awards, defeating, by the way, Lil Kim, another famous black female rapper.
However, her success was great, but the quality of her work was probably sacrificed for the sake of commercial success. In such a way commerce has started to prevail over the message the black female rapper, namely Missy Elliott, conveyed to the audience.
This trend has become even more obvious in the creative work of Lil Kim who was probably the most commercially successful of all females in the rap industry. On the other hand, Lil Kim was the best at selling the sex image. It is very important to underline that she was introduced to the hip-hop community via the all male crew Junior Mafia and “with a successful introduction in place and her mentor/lover The Notorious B.I.G. right behind her, Kim locked down the rap world from many (female) competitors for a very long time” (Evans 1994, 216). On analysing her work, it is easy to realise that Lil Kim exploited sexuality to create an image of sweetheart that was to a significant extent the result of her personal need to be loved. It is a well known fact that Kim left home too soon and this is why she had to hustle men in order to support herself. “’At that time I always had a man to take care of me’ she remembers. ‘Sometimes, if I thought I could get some money out of a guy, I’d sleep with. And I got kinda caught in that mentality’” (Hip Hop Divas 2001, 133). Soon she starts “transporting drugs, lives to boyfriend to boyfriend, learning hard lessons, getting betrayed” (Hip Hop Divas 2001, 133). Naturally all these facts from her biography reflected in her creative work and her image where sexuality was particularly significant, while morality obviously played a secondary role after commercial success.
Despite this fact, she was very popular and her debut on Junior Mafia’s “Player’s Anthem” left
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